Allegri Missa Vidi turbam magnam date
1640s
Allegri Missa Vidi turbam magnam
avoidance of harmonic tritones
F natural b.3 bass
Allegri Missa Vidi turbam magnam
overlapping entries
b.4 alto with end of prev phrase
Allegri Missa Vidi turbam magnam
PSR dissonances
b.18 alto G over chord change = 4-3 sus
Allegri Missa Vidi turbam magnam
Syncopation
alto b.21
Monteverdi Vespers date
1610
Monteverdi Vespers
1st sops enter with cantus firmus
âSancta Maria Ora Pro Nobisâ b.36
Gabrieli In Ecclesiis date
1608
Gabrieli In Ecclesiis
change to triple time because of holy trinity
b.11
Gabrieli In Ecclesiis
Bb chord (bold)
b.104
Gabrieli In Ecclesiis
F to D chord change (false relation)
b.174-175
Gabrieli In Ecclesiis
metre change and syncopation
âvivifica nosâ b.157
Monteverdi Vespers
reuses music fromâŠ
Monteverdiâs 1607 opera âOrfeoâ
Monteverdi Vespers
freer treatment of dissonance
ânigra sumâ b.40 bass E, vocal line F
Monteverdi Vespers
word painting
ânigra sumâ b.27-31 âsurgeâ (arise) uses ascending scale
Monteverdi Vespers
new monodic style
simple continuo accompaniment in ânigra sumâ
Bach Magnificat date
1723
Bach Magnificat
polyphonic
âmagnificat anima meaâ
Bach Magnificat
chords reflect words
âfecit potentiamâ b.28 stop on dim chord, b.29 aug chord reflect words âthe conceit in the hearts of the proudâ
Bach Magnificat
cantus firmus
âsuscepit israelâ
Bach Magnificat
oboe dâamore obbligato
âquia respexitâ
SchĂŒtz St Matthew Passion date
1666
SchĂŒtz studied withâŠ
Gabrieli and Monteverdi
SchĂŒtz St Matthew Passion
powerful dissonances
b.16 introitus tenor Eb above alto D
SchĂŒtz St Matthew Passion
repeats words at times of tension
âEliâ + âMein Gottâ 3 times
SchĂŒtz St Matthew Passion
two tenors playing false witness
âer hat gesagtâ, they sing in canon a maj2 apart, tenor 1 begins a tone higher than tenor 2 but switches to a tone lower half way through
Bach St Matthew Passion date
1727
Bach St Matthew Passion
No.1
âKommt, ihr Tochterâ
children sing a chorale melody in G major
Bach St Matthew Passion
No.33
âSo ist mein Jesus nun gefangenâ
Palindromic tonal structure (Bm, Em, A, D, G, D, Am, Em, Bm)
two choruses split antiphonally at b.86 G section
Bach St Matthew Passion
No.47
âErbarme Dichâ
descending basso continuo throughout aria reflect tears
Bach St Matthew Passion
No.72
âWenn ich einmal soll scheidenâ
chorale is reharmonised to phrygian with more chromaticism, sung immediately after Christâs death
Purcell âMy Heart Is Inditingâ
date
1685
Purcell âMy Heart Is Inditingâ
anthem type
verse anthem
Purcell âMy Heart Is Inditingâ
tonality
mixture of older mixolydian and new C major
Purcell âMy Heart Is Inditingâ
serious meaning of words
âHearken, O Daughterâ Queen should forget her family and think only of her duties to the King, shown in use of minor keys, chromaticism (b.319-320) and false relations
Purcell âHear My Prayer, O Lordâ
date
1682
Purcell âHear My Prayer, O Lordâ
interval motif
minor 3rd on âO Lordâ
Purcell âHear My Prayer, O Lordâ
anthem type
full anthem
Purcell âO Sing Unto The Lordâ
date
1688
Purcell âO Sing Unto The Lordâ
anthem type
verse anthem
How does Purcellâs âO Sing Unto The Lordâ show triumph and certainty?
strings are homophonic at beginning, bass soloist starts solo with fourth intervals
Purcell âMy Heart Is Inditingâ
instrumentation
2 choirs, 8 soloists, strings and organ
Why was Purcellâs âMy Heart Is Inditingâ composed?
to celebrate the coronation of James II
Purcell âMy Heart Is Inditingâ
cadence that had fallen out of fashion in early 17th century
English cadence b.98
Purcell âMy Heart Is Inditingâ
word painting
âAt His Right Handâ
âgloriousâ often in pairs and 3rds and 6ths (b.119)
âwrought goldâ is melismatic (b.126)
Locke âLord, let me know mine endâ
anthem type
verse anthem
Locke âLord, let me know mine endâ
male solos
b.84 tenor
Locke âLord, let me know mine endâ
word painting
b.95 emphasis on âfrettingâ from tied notes causing suspensions
b.75 melismatic âhopeâ
Lully âDomine salvum fac Regemâ
date
1660-1680s
Lully âDomine salvum fac Regemâ
instrumentation
three high voices and continuo
Lully âDomine salvum fac Regemâ
when was it performed?
whenever Louis XIV attended mass at Versailles
Lully âDomine salvum fac Regemâ
motet type
petit motet (less than 2 minutes)
Lully âDomine salvum fac Regemâ
description
simple but melodic, syllabic setting, dotted rhythms
Rameau âQuam dilecta tabernaculaâ
date
1713
Rameau âQuam dilecta tabernaculaâ
motet type
grand motet
Rameau âQuam dilecta tabernaculaâ
grand motet features
starts with solo voice, multi-sectional (influence of Rameauâs opera writing), mix of lyrical sections and complex counterpoint
Rameau âQuam dilecta tabernaculaâ
instrumentation
SSATBB, 2 flutes, string ensemble, continuo
Handelâs Messiah
date
1742
Handelâs Messiah
orchestra
Oboes, bassoons, two trumpets, timpani, strings, continuo
Handelâs Messiah No.3
word painting
âEvâry Valleyâ b.25 âlowâ sung to a low note
Handelâs Messiah No.1
in the style of a french overture, slow section with dotted rhythms followed by a faster fugal section. dominant pedals at separate points in both G major and E minor creates tension
Handelâs Messiah
secco recitative
âBehold, a virgin shall conceiveâ alto, sung with free rhythm dictated by accents of the words, accompaniment is simple and chordal, melody shows speech by using few pitches
Handelâs Messiah No.23
solemn mood
âHe was despisedâ, falling melody (âa man of sorrowsâ b.22-23), awkward intervals (1st violins b.22), dramatic silence b.66
Handelâs Messiah No.25
âAnd with his stripesâ 1st subject features agonised dim 7th leap of âhis stripesâ which makes it easily identifiable to the listener
Handelâs Messiah No.48
âThe Trumpet Shall Soundâ obbligato trumpet with space left to hear soloist (contrasts Bach Erbarme Dich continuous obbligato)
Carissimi âJephteâ
date
1645
Carissimi âJephteâ
instrumentation
Six voices and continuo, soloists and chorus SSSATB
Carissimi âJephteâ
monody example
alto opening âcum vocasset in proeliumâ
Carissimi âJephteâ
word painting
âFugite, fugite, cedite, cedite impiiâ fleeing shown through fast-rising scale
Carissimi âJephteâ
harmony reflects mood
âHeu, heu mihi filia mea, hui!â features chromaticism and dissonance to reflect Jephteâs lament
what was great about verse anthems?
they suited the smaller acoustics of court chapels like Chapel Royal, Hampton Court Palace
what was St Markâs Basillica famous for? also another two facts
cori spezzati, composers travelled all over Europe to hear music there, introduced instruments, especially wind, into church music
how was St Peterâs different to St Markâs?
very few instruments used, mainly prima prattica, influenced by music of Palestrina
prima prattica
Polyphonic, controlled dissonance only, modal effects, avoids lavish ornamentation, acapella, music dominates the text
seconda prattica (main ones)
text dominates music, bolder use of harmony, word painting, dotted rhythms, syncopation, more elaborate writing for solo voices
Louis XIV power
wanted to undermine influence of Italian music, expanding French political and economic supremacy into the arts
France saw ___
dance as the epitome of aristocratic art
Rameau was ___
one of the first French musicians to become famous all across Europe